Source:Sankens COS1 FOB -> ? -> DAT (16 bit/48 khz); Lineage:Sony R500->Sound Devices 722; Mastered: Soundforge Pro 10.0b - *All file manipulation in Soundforge done at 24 bits*. Volume normalization, minor clap removal during some quiet parts of drums/space, sample rate conversion 48khz to 44.1khz using iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter, then dithered back to 16 bits using using iZotope MBIT+ with Ultra noise shaping, High dither settings. Tracked in CDWav; Recorded By ?; Transfer, mastering, and tracking August 2010 by Scott Bernstein Taped by:Unknown Transferred by:Scott Bernstein Keywords:Audience; FOB
Shakedown Street, The Same Thing, Dire Wolf, Beat It On Down The Line, High Time, When I Paint My Masterpiece, Cumberland Blues, Promised Land
Picasso Moon, Fire On The Mountain, Wave To The Wind-> Cassidy-> Uncle John's Band-> Cassidy-> Drums-> Jam-> The Other One-> Wharf Rat-> Sugar Magnolia, E: Gloria
Recorded By ?
Clone received on DAT circa 1993 from Brendan O'Neill
Transfer, mastering, and tracking August 2010 by Scott Bernstein
Repaired the following minor glitches using the pencil tool in Sound Forge:
Set 1, Track 6 - small digi-glitch at 6:51 has been minimized
Set 2, Track 6 - minor digi-glitch at 7:32 has been completely removed
Set 2, track 13 - .375 sec drop out at 2:36 has been removed and is rendered inaudible (as it was during a tuning segment anyway)
So the BARN series started out as a way to try to get more of my master recordings that have been heard by few people outside of my apartment into wider circulation as well as starting an attempt to preserve my deteriorating DATs to a better archival format on hard disc.
Of course, every so often when you've got a formula worked out, you have to break that format. So this will be the first BARN series recording that I did not personally record. The mid 90's are not generally regarded as a great time for The Grateful Dead. From 1990-1991, Bruce Hornsby was in the band and added a huge new music voice and a ton of talent that energized them for a bit which also pushed (challenged?) Jerry Garcia in new ways not to get lazy at shows. So there were some truly amazing shows in that time period. But, Bruce didn't stick with the band that long and eventually they started writing some new material (of somewhat dubious quality) with Vince Welnick (the final keyboardist in the band). Truly excellent shows after 1991 were few and far between -- BUT there were a few actual gems from time to time, and this is one of them.
I pulled this DAT out to listen to recently, remembering when I got it that there was just something really sweet sounding about the quality of this "up front" recording. I also remember at the time reading up on these Sankens mics which were comparable to the size of a dime and being very impressed. Of course I went in the complete opposite direction, buying the large diaphragm Neumanns which are among the largest mics anywhere!
Back to this show -- let's start with the 1st set -- how could you ever go wrong with a Shakedown opener, followed by a set of mostly-lesser played tunes for this time period -- the great blues tune, The Same Thing (only in the rotation for a year and a half at this point after being introduced 12/28/91), Dire Wolf, Beat It On Down The Line, High Time (rare in any era!), and Cumberland Blues are all really nicely sequenced for a unique setlist. Someone else commented that Vince's solo on The Promised Land could be among his finest performances. I know that's not saying much, but worth a mention.
But the 2nd set -- wow! When they start a set with Picasso Moon (I know this is not everyone's cup of tea) is a raging version, segueing into very rare Scarlet-less Fire On The Mountain, you know something is afoot. Then a semi-new (and often maligned) Phil song for the time -- Wave To The Wind is presented in a slightly rearranged/smoothed out fashion that I have not heard anywhere else. Personally I like this song a lot. And then the big bust-out -- a split up Cassidy (which had never been done before or since) with Uncle John's Band sandwiched in the middle! Great music abounds here. Apparently if I recall correctly someone (an interviewer?) had suggested this to them earlier in the day and they just went for it! The rest of the set is strong if not particularly notable, but the always excellent (and somewhat rare) Gloria encore just tops the show perfectly.
I have no idea who recorded this originally or what gear was used beyond a DAT and the Sankens mics, so if anyone has any more info on who recorded it and what other gear was used, PLEASE get in touch!
March 2, 2014 Subject:
Crappy 1st set, but the 2nd is killer! Can totally see why this was released.
January 7, 2013 Subject:
Unusual show, both from that setlist (check that 2nd set, yo) to the very nature of the show's playing. The band had completely demolished the place the previous night with a Playin' in the Band that shook the very fabric of space-time; so how do they respond to that?
Set 1 - ....with a 15-minute Shakedown, baybe! From here on set 1 is just *excellently* done - check out the real exciting punch to Dire Wolf, and then Bobby getting in on some of that with a BIODTL that equals - it's as if the band is trying to outdo itself tune to tune!
High Time - Jer start out with the "hard time" chorus - probably accidental. I'm not one to glom onto the voodoo of triplicating Dead lyrics to the lysergic-mirror square root of self-importance to the band and the show they're playing, etc. etc. But in this case the use of 'hard time' works - the crowd is appropriately subdued. Jer is singing the song, he's not insisting on this and that - but there is a real ring of truth to the song so far down the line, as relevant as it was signaling an early warning to the deadheads who thought they were home free, until Altamont.
Masterpiece is just that. LISTEN to how rich, full, and beautiful they manifest Dylan's musing here! WOW! And don't be disappointed by Promised Land's opening chords signaling "OK, time to take a break in a minute" - they rock the living piss out of this tune!
Set 2 - OK, now for the weirdness - Picasso Moon drives and finds a steady groove towards the end (I like this tune in the post-Brent era); FIRE is the real news here - neither starting nor ending in the traditional manner we're used to, but sort of just...manifesting....out of the ether and Jerry absolutely cuts this thing to ribbons. It's lush, melodic, full of all kinds of interplay by everyone, and then it just disappears....
...into Wave to the Wind. I like it, myself. Nothing wrong with this tune, except for the fact that there wasn't, in the end, enough time to develop it like it could have been. I read here on the archive someone saying it could have been a new "Eyes" - I'll go with that. But it's a sweet song, played at a level of consummate professionalism - as someone *else* said on here, try playing it live!
The jam is found inside the Cassady bread - we're not expecting fireworks of 5/26 at this point, for the band has succeeded in something miraculous for this era - COMMANDING our attention with an unpredictability and confidence that makes *us* yield to *them*, and fully. It just doesn't matter as the devils take stage and put on a great, great segue; the D>S explorations of this era are treasures of psychedelia.
The boys roll through another take on Neai's count-the-ties-on-the-railroad-tracks jitters, and we glide into familiar but so entirely welcome territory. Listen to Jerry take a rare little solo on Sunshine Daydream - they're finishing a quiet masterpiece of a show here, something snuck in under the radar, using the unorthodox setlist to get everyone clear so the juice can flow.
Don't give them your cashola for that Road Trips release - this is a fine, fine AUD and you've simply got to hear this unique show from start to finish anyways - this and the previous night's AUD make great companion pieces to each other.
May 27, 2012 Subject:
Scott is on the money
This run in many ways was a pinacle moment in GD history. This second alone may have the most original and unstructured set list in twenty years, well at least the pre-drums. I would say that 9/26/91 would be another and that has the entire second set taking that honor.
I always regret reading about how this year was so unfulfilling for so many heads. After six months off the band was recharged and Jerry was in his best conditons in years. Although I once met the personal chef during this year, he worked at a local WFM, and lamented how Jerry would have nothing good in his refrigerator.
Either way heads did not embrace and support Jerry's efforts to bounce back like we did back in the spring of '87.
It was just business as usual. Maybe that was our mistake?
Regardless I often listen to shows from this years for many reasons.
Jerry's clarity and rich vocals and with Bruce off the bus the band's sound is more open and free.
Great first sets. Check out the Albany and Atlanta runs.
Another reason is Phil fucking Lesh!
He is a monster this run and his tone and playing is some of his best in years.
As for this show it is a FOB and I was a member, on the east coast, of the taping Co-op that created this unique and special recording.
This one does have some wind effects but has an openess and vitality that is a fun treat.
It really caputures what it was like to be in that zone back in the day.
As many folks know the first sets this year are in many ways better than the second sets lol.
This show exemplifies that with nine songs with three rarely played songs ones to boot BIODTL, High Time, and Cumberland which are all outstanding versions.
Shakedown explodes as well.
Set II is oustanding and closes out this run in a historic and unconventional manner.
I have to say the Wave to the Wind Cassidy>Uncle John's Band> Cassidy is one of my favorite pieces of music from this show blending the old with the new in ways that are highly creative, rewarding, and powerful.
It was brilliant to have Cassidy become such a vehicle for one of the most unique and spontaneous trifecas in GD history.
The Gloria encore is a pure rave up.